Szymon Rose Believes Comedy Should Be Relatable, Grounded and Effortless
Born in Poland before moving to Hamburg, Szymon Rose began his advertising career in 2004 at the German agency Springer&Jacoby. Learning about adland from friends, it turned out that he had a knack for it, and in the same year that he joined the agency, he was named ADC’s Young Creative of the Year.
Following this, Szymon moved over to Jung von Matt in 2005, BBH in 2008, Wieden + Kennedy Amsterdam in 2014 and then back to Jung von Matt, where he remains now. Across his career, he’s won numerous awards from Cannes Lions, D&AD and The British Arrows. It’s safe to say he’s a seasoned creative.
Delving deeper into the innovative minds of the German industry, this interview comes as part of production company REKORDER’s ongoing sponsorship of the German Edition with LBB. Each piece in the series will use a reflection from a REKORDER director as a springboard for the conversation. In this particular interview, our starting point comes from the insight of one of the production company’s talents.
Victor Aguilar (Zipi) from Biceps says,
“One of the things I like most is working with diverse brands and scripts with very different styles. I like everything from humour to emotion or more purely aesthetic exercises.
It's the kind of advertising I most enjoy watching and of course, making.”
However, out of everything I do, what I like most is humour, accompanied by a very powerful visual execution. I'd like to see more of those kinds of ads, scripts with a great idea, funny jokes, and irony... but that also challenge the visuals.
It's the kind of advertising I most enjoy watching and of course, making.”
Chatting about this topic as well as about his unique approach, LBB’s Nisna Mahtani speaks to Szymon.
LBB> The combination of humour and visual storytelling to create something striking is quite a process. How do you initially approach a piece of work which is looking to combine the two?
Szymon> I’m afraid I don’t have a magic formula or recipe for it. Simple things. What I try to avoid like the plague are visuals that are clichéd or overused. What is an unusual setting or cast, what is a surprising set up? What hasn’t been shown a million times in ads? Like, for example, the yoga-practising woman or the old ‘cool’ businessman commuting to work on his skateboard. Those are no-go’s. Unless you want to subvert them, then knock yourself out.
LBB> In your opinion, what is the key to creating a comedic story which lands with the audience? What are some of the things to keep in mind during that creative process?
Szymon> I like comedy that is relatable, somehow grounded in reality and also effortless. You can feel when someone is trying too hard to be funny. When every single ingredient from casting to writing is taken to the extreme. Then it’s like in real life: When someone is desperately trying to make you laugh, it won’t work. Then again, it’s all subjective anyway. I can only say what would make me laugh. I can’t predict 100% for sure what will work with the audience. It’s basically gut feeling and hoping your taste is also someone else’s.
[Axe Peace - 'Call To Arms']
LBB> When it comes to creating visuals, what is your preferred aesthetic and what equipment is required to achieve this look?
Szymon> Personally, I like a filmic, cinematic aesthetic so having the right DP on the project is paramount to me. But it all depends and is dictated by the idea itself; some ideas require a look that is more grounded in reality or deliberately shit. Maybe even shot on a mobile phone. This is something we did for a Samsung Galaxy campaign for example.
LBB> Taking things back a little, how did you find your way into the industry initially and what was the journey to getting your first role?
Szymon> After finishing school I was quite lost and didn’t really know what to do. In school I was an eager student of the arts and very much into drawing. People that are not my parents said I’m talented. So I looked into what I could do with this talent. Which can be a rabbit hole and frustrating at the same time.
By chance, I met what I thought were very cool-looking people who were studying graphic design and they told me about working in advertising. They got me hooked and I applied to uni instantly. I grew up with the famous Levi’s and Nike ads, but also Mercedes ads created by legendary Springer&Jacoby in Hamburg which was coincidentally my hometown. So after uni, that’s where I applied for a job. And thank fuck they’ve offered me one as I’ve only sent out this very one application.
LBB> Your experience spans across Jung von Matt, Wieden + Kennedy and BBH London. Throughout these roles, what have been the key lessons you’ve learned?
Szymon> I could talk about this all day as I have learned so much along the way. And still am. I was lucky enough to have worked in agencies that I admire the most. When I boil it down I’d say all three agencies unite the belief and pursuit of creative and unexpected work. The way the three agencies get to it is different though, and it is great to have experienced all three of them.
On top of that, working in London and Amsterdam has opened my mind and challenged me not just professionally but also on a personal level. It was a life-changing experience and I can only urge people to make a move abroad if such a privileged opportunity arises. I’ve learned from the best in the industry about ideas and craft. Working with so many different people from all walks of life and cultures has had a long-lasting impact on me. But most importantly my English improved dramatically.
[Opel Corsa Electric - #YesOfCorsa]
LBB> What are some of the formative pieces of work you’ve been involved in and can you talk us through the process of creating them?
Szymon> I find it always strange to talk about my own work, it’s like picking my favourite kids. But when looking at some of my more humorous work then I’d pick Smart Backseat and Axe Peace. The idea for Smart Backseat came about when I was an ad puppy at Springer&Jacoby. I think it was one of my very first TV ads. Such a simple idea and also wonderfully simple to create a mood edit for the client which basically sold itself. Making it then was so much fun as we could recreate all sorts of movie genres.
And talking about Axe, it was always a dream to write a big global campaign for that brand. It was the year 2014, the world was politically tense and we were lucky to have a client who wanted to make a statement. Globally and at the Super Bowl. Sadly, its message is still very current today.
LBB> Are there any recent campaigns which you believe have struck the right balance between being humorous in tone and visually striking?
Szymon> Forgive me but here comes a little self-promotion. I think our recent Opel/Vauxhall Corsa campaign ‘Yes Of Corsa’ is wonderfully humorous, self-aware and catchy and at the same time visually arresting, surprising and right for the brand.
LBB> Not only have you been on the receiving end of many advertising awards, but a jury member as well. Has the judging process made you consider work differently? What is your favourite element of the process?
Szymon> My favourite part of the judging process is the discussions around the work as it’s very inspiring to hear different points of view from different parts of the world. And that at the end of the day it’s all very subjective obviously. But it does help me to evaluate work more open-mindedly and try to see it from different angles. I guess you could say in that respect the judging experience has made me look at work differently. But I want to point out that I never look at work and think, ‘Will this win awards or not?’ But more, ‘Does it solve a problem and does it resonate?’
LBB> Many creatives have an endless list of hobbies and interests, is that the case for you? What do you find yourself doing in your spare time?
Szymon> I have a wonderful family of four. Two young kids. So in my (little) spare time, I love to sleep.
LBB> Is there anything unexpected that people may not know about you?
Szymon> When I first applied to a design uni in Hamburg I got rejected as I didn’t qualify in their eyes.
